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A PUBLICATION OF THE EDUCATION DEPARTMENT AT ROUNDABOUTTHEATRECOMPANY,SPRING 2012
Callboard
Don’t Dress for Dinner,, the wildly funny comedy by Marc Camoletti (Boeing
(
-Boeing), is coming to Roundabout
Theatre Company and it’s going to be an affair—or three!—to remember.
Bernard’s plans for a romantic rendezvous with his mistress are complete with a gourme
t caterer and an alibi
courtesy of his friend, Robert. But when Bernard’s wife learns that Robert will be visiting
for the weekend, she
decides to stay in town for a surprise tryst of her own… setting the stage for a collision
course of assumed
identities and outrageous infidelities.
The cook is Suzette, the lover is Suzanne, the friend is bewildered, the wife is suspicio
us, the husband is losing
his mind and everyone is guaranteed a good time at this hilarious romp through the
French countryside. Tony
Award® nominee John Tillinger directs.
This farce is more than just slamming doors and costume changes (though we have plenty of those!).
It’s got a lot of heart, and I think you’ll be pleasantly surprised to find that you actually care a great
deal about these characters and will really understand why they go to such ridiculous extremes to
protect the relationships they hold dear.
“
“
A NOTE FROM ARTISTIC DIRECTOR TODD HAIMES:
WHEN:
WHERE:
1960
BERNARD
THE HUSBAND
A COUNTRY HOME
NORTHWEST OF
PARIS
MARRIED TO
WHO:
JACQUELINE
THE WIFE
FRIEND
OF
MISTRESS
OF
SUZANNE
THE LOVER
ROBERT
HAVING AN AFFAIR WITH
THE FRIEND
PRETENDING TO HAVE
AN AFFAIR WITH
PRETENDING TO BE
SUZETTE
THE COOK
MARRIED TO
GEORGE
THE BRUTE
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HIRED BY
Table of Contents
Interview with Actress Spencer Kayden .......................................................................Page 4-5
Playwright Biography: Marc Camoletti ........................................................................Page 6-7
Interview with Director John Tillinger ..........................................................................Page 8-9
A Recipe for Farce ................................................................................................. Page 10-11
Interview with Set Designer John Lee Beatty ............................................................ Page 12-14
Resources and Glossary......................................................................................... Page 15-16
UPSTAGE Contributers
Greg McCaslin
Education Director
Ted Sod
Education Dramaturg
Jason Jacobs
Teaching Artist
Jennifer DiBella
Associate Education Director
Jill Rafson
Literary Manager
Leah Reddy
Teaching Artist
Sarah Malone
Education Program Associate
Holly Sansom
Education Assistant
Josh Feder
Artistic Apprentice
Aliza Greenberg
Education Program Manager
Kimberley Oria
Education Apprentice
Eric Emch
Graphic Designer
UPSTAGE DON’T DRESS FOR DINNER
3
A Recipe for Acting
INTERVIEW WITH ACTRESS SPENCER KAYDEN
Just before rehearsals began, Ted Sod, Roundabout’s
Education Dramaturg, sat down with actress Spencer
Kayden to discuss her role in Don’t Dress for Dinner.
Ted Sod: Why did you choose to do this play and this
role?
Spencer Kayden: To me, farce is pure joy. There is
nothing deep or pretentious about it. It’s just finelytuned silliness.
TS: What kind of preparation or research did you have
to do in order to play Suzette? Do you use an accent?
SK: Suzette is French and I suppose the accent comes
easily from having watched Peter Sellers in so many
Pink Panther movies when I was younger.
TS: I know you’ve played the role before in a previous
production. How is this character relevant to you? Can
you share some of your thoughts about Suzette with
us? What do you find most challenging or exciting
about this role?
SK: When I first read the play, I was delighted by
Suzette’s ability to turn everything to her advantage,
even in the midst of so much confusion. She is so
unassuming at first, and then the situation demands
more and more of her and she really rises to the
occasion. One of my favorite things about playing this
role in Chicago was that I would purposefully try not
to get any laughs for as long as possible. The play has
plenty of frenzy from the get-go and I think it serves
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the play best for me to just be honest and simple at
first. Suzette gets to have an extreme amount of fun
later on, and I wanted that side of her to be unexpected.
TS: What do you think the play is about?
SK: Oh come now, it’s not about anything. It’s a really
funny sex farce.
TS: What is it like to perform in a farce like Don’t Dress
for Dinner? Is the audience’s response vital?
SK: Performing farce is one of the most enjoyable
things I can think of. The characters in this play get put
in such ridiculous situations and for it to work, we all
have to take it extremely seriously. The less we play
for laughs, the funnier it is. The audience’s response is
certainly vital. Actors always feed off of their energy.
It is so deeply satisfying to hear an audience bellylaughing.
SK: I’ve been performing since I was 8 years old when
I tagged along with my brother to an audition for The
Hobbit at the local community center. I was cast as the
Elfen Queen and my minions were all much taller than I
was. (I have a photograph from that show up on the wall
in my house. It still cracks me up.) I acted in the Young
People’s Conservatory at South Coast Repertory. I did
drama all through high school and then went to theater
TS: How do you collaborate with a director?
school at Northwestern. There was a moment when I
SK: I enjoy it when a director has me on a really long was about to go to Berkeley and major in classical
leash, reigning me in when necessary. In Chicago, Joey languages, then I woke up and realized that I would be
(John Tillinger) was great about letting us play and denying myself what I like best — theater.
explore to our heart’s content. He didn’t have any preconceived notions about how the play was supposed TS: Public school students will read this interview
to be performed. In fact, if he ever had me on a leash and will want to know what it takes to be a successful
at all, he ended up taking it off entirely. He gave me actor—what advice can you give young people who
such freedom. It was delightful. That happened partly want to act?
because Joey decided to make my character French, SK: Being a successful actor requires great patience.
making it necessary to rewrite many of my lines to There is so much in this business that is out of our
make them authentic for a French-speaker whose control. A lot of people are finding success from
English is not perfect.
creating their own material. I would highly recommend
finding like-minded people and doing whatever it is
TS: Where did you get your training? Did you have any that makes you happy, whether it’s starting a theater
great teachers who influenced you?
company, making web videos, writing plays, etc.
“
“
To me, farce is pure joy.
There is nothing deep or pretentious about it.
It’s just finely-tuned silliness.
UPSTAGE DON’T DRESS FOR DINNER
5
A Recipe for Playwriting
MARC CAMOLETTI’S BIOGRAPHY
Type “Marc Camoletti” into any internet search engine and
discover thousands of productions of his plays, staged
everywhere from dinner theaters in Lubbock, Texas to the
ˇ
Mešt’anská
beseda v Kopeckého in Pilsen, Czech Republic.
The international reach of Camoletti’s work—his forty plays
have been translated into 18 languages and performed
professionally in fifty-five countries—mirrors Camoletti’s
personal background. He was a French citizen, born on
November 16, 1923 in Geneva, Switzerland to a family of
Italian background.
Camoletti’s paternal grandfather, also named Marc
Camoletti, was a prominent architect who designed Victoria
Hall, a concert venue named in honor of Queen Victoria and
eventually donated to the city of Geneva by its owner. The
elder Camoletti also designed the Geneva Musée d’Art et
d’Histoire, and the Hôtel des Postes du Mont-Blanc, all
in Geneva. Camoletti’s great uncle and cousins were also
successful architects.
Camoletti initially trained as a painter. But by the early
1950s he was living and writing in Paris, the city that would
embrace his work and that he would call home for most
of his life. In 1955, he adapted and directed a play titled
Isabella and the Pelican at the Edward VII Theatre. In 1958,
at the advanced (for a beginner playwright) age of 35, he
wrote his first play, La Bonne Anna (The Good Anna or Anna
the Maid). It was produced at the Théâtre des Capucines
by a company affiliated with Camoletti’s wife, the theatrical
designer Germaine Camoletti. The production was a smash
hit and ran for 1300 performances.
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A RECIPE FOR
MARC CAMOLETTI’S SUCCESS
Marc Camoletti’s most successful
play was Boeing-Boeing, which ran
for 19 years in Paris. There have been
14 film and television adaptations
of his plays, including the 1965 film
version of Boeing-Boeing starring
Jerry Lewis, Tony Curtis, and Thelma
Ritter. Camoletti directed 1 movie,
a 1979 adaptation of his play Duos
sur canapé. It’s estimated that 20
million people have seen his plays live
and 500 million people have seen a
recorded version.
La Bonne Anna,, like all of Camoletti’s forty plays, was a light comedy
dealing with themes of sex, relationships, and secrets. His work is often
characterized as “boulevard theatre,” a genre characterized by middlebrow sex
comedies and named for Paris’s Boulevard du Temple, location of many theaters.
Georges Feydeau is the most notable playwright of the style.
Camoletti’s second—and most famous—play, Boeing-Boeing, opened in Paris on December 10, 1960, and ran for
19 years. The English translation opened in London in 1962 and ran for seven years. The farce initially held less
appeal for American audiences—the original Broadway production lasted just 23 performances in 1965. But the
2008 Broadway revival starring Mark Rylance and Christine Baranski fared better, running for 279 performances,
earning six Tony nominations and two Tony awards. Boeing-Boeing now regularly appears at regional theaters
across the country.
Camoletti followed up Boeing-Boeing with a string of successful shows, including Sèmiramis in 1963,
Secretissimo in 1965, La Bonne Adresse in 1966, and L’Amour propre in 1968. In 1972, Camoletti and his wife
took over management of Thèâtre Michel, on Paris’s Rue des Mathurins.
Camoletti would produce and often direct his own work at Thèâtre Michel, beginning with Duos sur canape in
1974. Bon Anniversaire followed in 1976, On dînera au lit in 1980, and Le Bluffeur in 1984. In 1987, Pyjama
pour six, a sequel to Boeing-Boeing, opened at the Theatre Michel. The English translation, retitled Don’t Dress
for Dinner, opened in London in 1991 and ran for six years. (The German translation, Snutensnack un Lögenpack,
has also proven popular.)
Camoletti continued to write, produce,
and direct at the Thèâtre Michel
throughout the 1980s and 1990s. He was
made a Knight of the Legion of Honor,
one of France’s highest honors.
Camoletti passed away on July 18,
2003. He is buried with his wife, who
passed away in 1994, in the Montmartre
Cemetery in Paris. From the time of
Camoletti’s death in 2003 through
2008, Camoletti’s son Jean Christophe
and daughter-in-law Arianne managed
Thèâtre Michel.
UPSTAGE DON’T DRESS FOR DINNER
7
A Recipe for Directing
INTERVIEW WITH DIRECTOR JOHN TILLINGER
Ted Sod, Education Dramaturg, interviewed director John Tillinger about his
thoughts on Don’t Dress for Dinner.
Ted Sod: You’ve directed Don’t Dress for Dinner before, correct?
John Tillinger: Yes, I did.
TS: Is that where Artistic Director Todd Haimes saw it, or did you bring the
project to him?
JT: Todd saw it in Chicago when I directed it there in 2008.
TS: What attracted you to the play and what made you decide to direct it
again?
JT: Comedy is hard, in my opinion, and not everybody realizes that. At any
rate, I had enjoyed Boeing-Boeing quite a lot—the recent Broadway revival
that Matthew Warchus directed and Mark Rylance starred in. And this play,
which is also written by Marc Camoletti, is almost the same. It’s in the same
genre. It’s very challenging to get it right. Certain elements have to be correct
for it to really fly. So that was one of the reasons.
I always wanted to do a play in Chicago and when I first directed it, it was
around the time of the last presidential election—a very exciting city to be in.
It was just a good project for me to do at that time. And what happened was
that despite some misgivings initially, it took off almost immediately after
the second or third preview, and the audience was screaming with laughter.
There’s nothing I like more than laughter in the theatre or in life. So I was
really pleasantly surprised by that and it seemed to work. When there was
talk of it being done in New York at Roundabout, I was very pleased.
TS: It’s perfect timing for our season because we’ve had a dramatic first half.
JT: Exactly. I do think people need to laugh from time to time. I think that
goes for any difficult period in our lives. I am very pleased to be able to do
it again.
TS: This play has had very long runs in France and England.
JT: Don’t Dress for Dinner is in the tradition of a Georges Feydeau farce. It
ran in London for seven years, which is really a long time. I think the initial
production of Boeing-Boeing ran in London for about four or five years.
That’s an enormously long run.
TS: Why do you think this play is so popular?
JT: Some people like to go to the theatre and have a good time after they’ve
had a hard day at work. A couple of drinks and a good laugh and you go home
feeling terrific. It’s not illuminating about infidelity and so on. It’s just fun.
It’s silly and fun.
TS: Would you describe this play as a comedy or farce?
JT: It’s very hard to define in this particular case because usually farce is about
doors slamming and so forth, but this play is more about misidentification. There
are a lot of farcical elements in this play, people chasing around and being hit and
smacked and falling over and all that. So, it is more a combo of farce and comedy.
If you call Feydeau a farce, then it’s a farce. If you call Feydeau a comedy, then
this is a comedy. Don’t Dress for Dinner is a bit of a hybrid.
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TS: The best definition of farce I’ve ever heard is when somebody should call
the police and they don’t.
JT: That’s pretty good. One tries to keep it as real as possible. Two things
have to be real: the setting and the characters. It’s the situation that goes
out of control. Or, conversely, the situation and the setting are real and the
people are out of control. This play is quite funny. The circumstances get
out of control and everybody behaves in a crazy way, which can sometimes
happen in life I think.
TS: You’ve been at your craft for a long time; did you have to do any research
to do this kind of play?
JT: Not really. The research is really what I’ve learned by working. The
revivals of Joe Orton’s plays I’ve directed were very big hits for me. I just
responded to Orton’s work the first time I encountered it. I thought so much
of the writing when I read Loot without even seeing a production. In fact, I
never saw a production until I directed it. I just respond to that kind of humor.
Orton’s plays have a very specific language. I call it Ortonese. This has more
ordinary language, not the sort of ornate, witty language that Orton uses.
I learned how to make it work. I study the script as much as I can. For me,
most productions are a thing of discovery. I like actors to explore things and
we work it out together rather than me dictating it. Some directors have it all
worked out before the first day of rehearsal and that’s great, but it doesn’t
work for me.
TS: John Lee Beatty, the set designer, tells me it’s now happening before the
women’s movement – was that a conscious decision?
JT: Well, you know it is a French farce. Marc Camoletti, the playwright, was French
despite his name. The attitude toward sex in France is very different than in
America. We live in a puritanical society. People seem to think that we live in a
very open society, but one minute there are people talking about their penises
and orgasms on television and the next minute we’ve got people getting very hot
under the collar because somebody said the f-word or whatever. The women’s
movement has nothing to do with this play really because the women do what they
want to do and the men do what they want to do. It’s about sexual conundrums.
TS: What were you looking for in casting the actors? What traits did you
need?
JT: People who were adept at comedy. Somebody like Jennifer Tilly who
I think is probably the best-known here in the states. I’ve never directed
these particular English actors before, but they know how to do this kind
of material. One of them auditioned on tape and it was exactly what I was
looking for. When you have to try and explain why something’s funny to the
cast then you’re in trouble. I needed to have performers who understood how
to play the material. It’s all about the rhythms.
old but I still get thrilled and it’s wonderful. Working with Julie Harris was
very inspiring. I was feeling a bit disillusioned when I directed her and she
was so great, so dedicated, it put me right back on track. Same goes for many
others: George C. Scott, Stockard Channing, Nathan Lane and Eileen Atkins.
Recently, I saw Alan Rickman in Seminar and he was spectacular, effortless.
I also read a lot and I go to museums. I am very much dedicated to being
stimulated by visual things. I think that one of the reasons I like being a
director is I get to be stimulated by everything, not just the literary aspects
of a play, but the visual as well.
TS: How are you collaborating with your extraordinary design team and how
will the play manifest itself visually?
JT: We’re setting this play earlier than it was written because the designers
and I thought that it would look better. And it has to be set in a time period
before cell phones, because if cell phones existed, none of the plot would
have happened. We’re just going back to the old conventions. I’ve worked
with all these people before, which is why I was so glad that they responded
and that they wanted to work with me again. John Lee Beatty is doing the set,
which is gorgeous. I’ve seen the drawings of it. And then we have William
Ivey Long designing Balenciaga-like costumes. People will come to the
theatre and see people who live the kind of life that we don’t live anymore.
I think one of the major attractions of “Downton Abbey”, whatever you may
think of it, is that there are elegant people dressing up and behaving in a
very studied manner.
TS: Did you have any great teachers who inspired you?
JT: I worked in the English theatre. I’m not English, but I grew up there. I
just consider myself very lucky that I grew up when there were all these
really great actors working. I saw Gielgud, Richardson, Olivier, Scofield
and Guinness when I was eleven or twelve, and it knocked me sideways. So
they were my teachers. I thought, “I want to be part of that.” Initially, I had
wanted to direct Fred Astaire movies but then I changed course and worked
in the theatre. That’s where I learned my craft, by the doing of it rather than
from teachers.
TS: Is there a particular character in the play that you relate to?
JT: To all of them, really. I like all of them.
TS: I rather like the character of the cook.
JT: She is the linch pin of the whole plot because she is caught in the middle
of this thing and she is working it for all it’s worth. You know, the whole point
of it is naughtiness. It’s an old fashioned word, but it is naughty fun. In the
end, the two couples go off and the cook and her husband go off together.
Everybody goes to bed with the person they’re supposed to go to bed with.
TS: Are you still inspired by certain people’s work or by going to museums
or traveling?
JT: I am. Peters Hall and Brook and then Mike Nichols influenced me. When
you see a really great actor or actress, it’s just thrilling. I may be 900-years-
“
TS: How did John become “Joey”?
JT: Joey became John, I’m afraid. My real name is Joachim and nobody seems
to be able to pronounce it, so people called me “Jo”, and after a while people
said, “You can’t call yourself ‘Jo’. “ So my agent persuaded me that John
would be better and I regret it, but there we are. I wish I just left it Jo. Joey
is the name everybody knows me by. It’s also very useful to me because if
someone comes up to me and calls me “Joey”, I realize I know them.
TS: Is there anything else you want to say about the play or your work?
JT: I want people to have a good time and not examine the play for its social
value or whatever. I love Ibsen and Chekhov too, but sometimes a part of
theatre-going is to have a good time and relax and have a laugh and go
home. It’s not an earnest examination of infidelity and the trouble you can
get into. It’s about foibles of the heart and “what fools these mortals be.”
“
TS: It’s a return to an elegant lifestyle.
JT: A return to major elegance, yes.
TS: What advice would you give a young person who would like to direct?
JT: I think one of the great things you can do is to work with other directors.
You know, I’ve had one or two assistants who’ve gone on to win Tony Awards.
I’m not saying that I was a huge influence on them, but I think that’s the way
you learn, to watch and to work with a director you admire. You learn that
way, even if it is how not to direct a play. See as much as you can and then
direct. I think it’s much better to dirty your hands.
Some people like to go to the theatre and have a good time after they’ve had a hard
day at work. A couple of drinks and a good laugh and you go home feeling terrific.
It’s not illuminating about infidelity and so on. It’s just fun. It’s silly and fun.
UPSTAGE DON’T DRESS FOR DINNER
9
A Recipe for Farce
FOR OVER TWO MILLENNIA, the recipe for farce has called for
a few essential ingredients. Start with a set of stock characters
in an everyday setting and introduce some romantic or sexual
intrigue. Toss in at least one case of mistaken identity. Blend
in absurd plot twists, unexpected characters, and escalating
complications. Include enough slamming or swinging doors
for all the entrances and exits necessary to keep the
action flying. Place everything under intense
time pressure and allow events to boil
into a chase-like speed, until the
situation reaches a state of near
anarchy. Just when everything is
nearly out-of-control, restore
order and avert disaster. Serve
it fast and furious—enjoy!
These formal elements help
to distinguish farce from
high comedy and satire,
but in fact the differences
are not hard and fast,
and some of the greatest
stage comedies, such as
Wilde’s The Importance
of Being Earnest, mix all
three categories.
Farce
differs from high comedy
with an emphasis on physical
activity and absurd situations over
character-based humor and verbal
wit. And while satire uses humor to make
social commentary, the goal of pure farce is
entertainment for its own sake.
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The situations and dramatis personae of farce have been in
play since Aristophanes used outrageous physicality, broad
characters, and ridiculous situations in the 5th century BCE.
In the 2nd century BCE, the playwright Plautus entertained
the Romans with a stock of character types—fathers and sons,
domineering wives, courtesans, crafty servants, and braggart
warriors—dealing with love affairs and mistaken
identities.
The commedia dell’arte of the 16th
century brought farce from ancient
times to the modern world.
Though its origins were in Italy,
commedia troupes travelled
across Europe. Commedia
was built on lazzi, comedic
physical business. Actors
used improvised scenarios
rather
than
scripts,
portraying a set group of
characters (including the
crafty Pantalone and the
hapless servant Arlecchino)
and shuffling through a
series of ridiculous situations.
A century later in France, Moliére built upon characters and
situations from commedia. His earlier plays, The Flying Doctor
and The Imaginary Invalid, are highly physical and farcical;
later, he would turn his emphasis to character and satire.
In the mid-19th century, farce thrived in the popular theatres of
Germany and France. Perhaps the greatest farceur of this period
was Parisian Georges Feydeau, who tweaked the intricate plot
machinery of Eugene Scribe’s well-made play for outrageously
comedic purposes. Feydeau took situations to extremes in order
to push the bounds of conventional taste; for his characters,
reputations and respectability were at stake. He was of the first
farceurs to set scenes in the bedroom, where he found a myriad of
comic uses for a bed—everything except sex. Feydeau’s plays flew
with intense speed; a director from the Comedie Francaise said that
an actor must be able to run a mile in the course of the evening to
perform a Feydeau play. Feydeau also had a dark side: Playwright
John Mortimer notes that “the story Othello and Feydeau’s A Flea
in Her Ear have a striking similarity. ” Their key difference is that
“farce is tragedy played at about 120 revolutions a minute.”
In the 20th century, Eugene Ionesco transformed farce for
the Theatre of the Absurd. Joe Orton manipulated it for black
comedy, and Alan Ayckbourn has used farce elements in
many of his comedies. Stephen Sondheim’s A Funny Thing
Happened on the Way to the Forum drew on several plotlines
and situations from Plautus. On film, Buster Keaton and the
Marx Brothers mastered broad physical comedy. In the 1960’s,
Peter Sellers’s bumbling Inspector Clouseau in the popular
Pink Panther films continued the farce tradition on screen.
In 1960, with his first hit Boeing-Boeing, Marc Camoletti picked
up the farce baton and ran all the way to the Guinness Book
of World Records by writing the most-performed French play
in the world. Camoletti’s sequel, Pajamas Pour Six, opened in
Paris in 1987 and in London in 1991 under the title Don’t Dress
for Dinner. Camoletti and his English-language adaptor Robin
Hawdon provide a fresh take on the classic recipe, using timehonored character types and situations to serve a zesty new
feast.
Jennifer Tilly, Spencer
Kayden, Patricia Kalember
and David Aron Damane.
Photo by Joan Marcus.
UPSTAGE DON’T DRESS FOR DINNER
11
A Recipe for Set Design
INTERVIEW WITH SET DESIGNER JOHN LEE BEATTY
Ted Sod, Education Dramaturg, interviewed set designer John Lee
Beatty about his thoughts on Don’t Dress for Dinner.
can’t be mysterious nooks and crannies to make it all seem confusing.
The joke is that the logic of the world is turned upside down.
Ted Sod: Tell us about how you worked with John (Joey) Tillinger, the
director, to come up with the set design for Don’t Dress For Dinner.
John Lee Beatty: Joey and I have done a lot of plays together. Especially
Joe Orton’s plays. Basically, it’s a fairly straightforward process. It’s
a comedy, and you have to make the sculpture of the comedy work
first rather than the visual. Since someone’s not just standing still and
having a beautiful setting behind them, it’s more about where does
everyone exit and enter from? And where do they go to and what do
they have to fall over and what has to be pointing in which direction
for it to all work. A lot of nuts and bolts have to be discussed with the
director. In some ways, comedy is a bit of a machine. In this case, it’s
a glamorous machine, but a machine nonetheless.
TS: What kind of research did you have to do before you did your
sketches?
JLB: Oh! French country houses. That’s a pleasure.
TS: Do you see this more as a comedy or as a farce?
JLB: It’s a farce, you’re right.
TS: It seems to me that in a farce, doors are really important. Is that
true in this setting?
JLB: Yes it is. However, this is a play about entrances and exits more
than it is about slamming a particular door. Entrances and exits are
very important. And I have to say, if you follow the theories of comedy,
if you want to be literal about it, sightlines are very important. There
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TS: Where are those country houses located?
JLB: I’m saying that we are in northwestern France, so I’m putting it in
Brittany. I’m an addict of House Hunters International on HGTV so I am
remembering some houses they were showing us in Brittany.
TS: Is that a specific kind of architecture?
JLB: Oh sure, but more importantly this French country house probably
started as a barn and was made into a house. It was probably started
in the 18th Century and then perhaps had something done to it in
the 19th Century and then had something else remodeled in the
20th Century. So it’s gone from being an animal abode to an upscale
country retreat.
TS: Who was responsible for the decor? Is it the wife? Do you see her
being the one who decorated the house?
JLB: That’s a good question. I actually think they’ve done it together.
They obviously have aesthetic taste. They’re both quite chic. It’s very
upper class French.
TS: In French movies, the characters always seem to know how to
decorate, how to dress and how to eat.
JLB: As we were working together, Joey wanted the characters to be
elegant and so we decided to set it circa the late ‘50s. It started with
Balenciaga and all those wonderful clothing designers of the period
and thinking about people who were dressed like that.
TS: What do you think the play is about?
JLB: It’s basically a comedy about sex, so obviously nobody actually
ever goes to bed with anybody. It goes without saying if it’s a comedy
about sex, no one’s ever actually going to get in bed.
TS: So it’s not happening in present day France?
JLB: No, no, no. It’s in 1959. Originally it was done in the ‘80s and we
pushed it back.
TS: Especially with the person they want to be in bed with. How did
you all choose the specific year to set the play in?
JLB: I instinctually went to ’59. I was in love with a Balenciaga dress
Kay Kendall wore in a movie and I researched the year that was from
and 1959 popped up. We all know ’59.
TS: It makes it more of a period piece.
JLB: Right, and we’re trying to conjure up Capucine and The Pink
Panther and all those wonderful movies where the ladies are so lovely
and the scenery is high bourgeois. It’s quite a lot of fun. And it makes
it internationally attractive.
TS: It’s right before Jackie Kennedy took over the White House and
she brought a French influence to Washington.
JLB: Yes, absolutely. That is the period where French is French. I used
to read my sister’s Vogue magazine from that period, so I know what
it is about.
TS: Did you watch any film besides The Pink Panther for ideas?
JLB: I’m an Audrey Hepburn fan so I don’t need to watch movies.
They’re burned into my head.
TS: Will you be working closely with the lighting designer?
JLB: Oh sure, we always collaborate. I’ve worked with Ken Billington
many times. I’ve done comedies and musicals with him. One of the
things we know is that the actors are going to be completely lit.
There’s just enough requisite theatre lighting for a comedy.
We can’t go in for mood lighting in this show.
Adam James and
Ben Daniels. Photo
by Joan Marcus.
TS: By putting it in another time period, it becomes less about sex and
more about sensuality?
JLB: Perhaps. This time period is before the sexual revolution. It’s
a comedy of form. Come on, this isn’t quite reality. Men are men
and women are women and men are shaped like men and women
are shaped like women and you move the chess pieces around, you
know?
TS: It seems like the smartest character in the play is the cook. Do you
agree?
JLB: Oh my God, yes. She’s a riot. In most comedies, the whole first
act is all setup and then the comedy kicks in in the second act. In this
play it’s almost immediate. Within a few pages you’re into the middle
of it, which is wonderful.
TS: The playwright doesn’t waste any time getting to the complications
of having a mistress or boy toy.
JLB: Right.
UPSTAGE DON’T DRESS FOR DINNER
13
A Recipe for Set Design
INTERVIEW WITH SET DESIGNER JOHN LEE BEATTY, CONTINUED
TS: I think it’s really smart to make the play a period piece.
JLB: Well, there’s this whole plot point about a fur coat. And we
were talking about the fur coat and I was saying, “Well, you know,
I remember how my great aunt, who was well-to-do, thought it was
horrible that my mother didn’t have a mink.” But nowadays, who would
ever think that everybody had to have a fur? In that day and age, it
was a symbol of prestige and every woman had to have a fur. And the
fact that the cook ends up with it makes much more sense in a period
piece than it would if it were set in modern times.
you learn a lot about designing by doing it with people. I know it
sounds flip, but it’s also kind of profound, you have to just do it.
TS: Training was important?
JLB: Training’s important, absolutely! But learning how to talk to your
collaborators is very important also. Learning just to be a in a room
with people is really important.
TS: Ben was married to Jane Greenwood.
JLB: To Jane, right. And I remember I went to a play that Jane and
Ben designed entitled Finishing Touches and I thought it was so well
designed, scenery and costumes both.
TS: You had an artistic home for years at Circle Rep. Was that
valuable?
JLB: Because I’m a shy guy, yes, tremendously. If you watch my
resume closely, I’m doing my nineteenth year of Encores! at City
Center. And I first worked with Manhattan Theatre Club in the winter of
’73, and I’m still working with them. It’s scary out there when you’re
just doing one-offs in high-level commercial theatre. And often times
with collaboration too, the first time with people is sometimes a lot
harder than the second, and third, and fourth and fifth and sixth and
seventh times. So getting experience is great, any kind of experience.
Making scenery in college is a good experience. Upholstering a chair.
All those things. All of it counts. Everything counts—even if you just
help somebody who needs assistance and it’s just two days, one thing
leads to another and you get exposure to people and you meet people
and you see how things are put together.
TS: What kind of advice would you give to a young person who wants
to design scenery for the theatre?
JLB: Do it. Designing scenery is such a collaborative experience. I’ve
worked with Ken Billington and William Ivey Long and John Tillinger
many, many times and worked for the Roundabout many times. So,
TS: What I hear you saying is that it’s a business of relationships and
those relationships are really important.
JLB: Yes, but it’s not like climbing the corporate ladder as much as
everyone’s jumping into the deep end of the pool together and trying
not to sink.
TS: Were there people there who influenced you?
JLB: Well, my teacher at Yale was Ming Cho Lee. I was affected by Ben
Edwards and his wonderful designs of stage interiors.
“
“
TS: Who were your role models when you started in this business?
JLB: I’ve been designing scenery since I was a little boy, to be honest.
But, I was an English major at Brown University and then I went to Yale
School of Drama for three years.
In some ways, comedy is a bit of a
machine. In this case, it’s a glamorous
machine, but a machine nonetheless.
14
ROUNDABOUTTHEATRECOMPANY
Glossary
KUALA LUMPAR
is the federal capital of Malaysia
Robert has just returned from Kuala Lumpar in the opening scene.
CORDON BLEU
is translated as “Blue Ribbon” and is the name of the culinary institute in Paris
Suzette is a highly qualified cook to be a Cordon Bleu.
ROGER
a slang word meaning “to have sexual intercourse with”
Jacqueline says that Robert can roger whomever he wants.
FOLIES BERGERE
is a music hall in Paris, France
Jacqueline says Robert can sleep with half of the audience that fills up Folies Bergere.
LIAISONS
DANGEREUSES
translated from French to English as “dangerous liaisons”
Suzette refers to the affair between Bernard and Suzanne as Liaisons Dangereuses.
BULLY
a slang word meaning an expression of encouragement like “Hurrah”
Jacqueline says bully sarcastically about the sleeping arrangements of Robert and Suzette.
BELA LUGOSI
the common name for Hungarian actor Bela Ferenc Dezo Blasko, most famous for his role as Count Dracula
Jacqueline compares Count Dracula with Suzette’s acting skills by asking if Bela Lugosi coached her.
LOOPED
drunk
Bernard hopes to get Jacqueline looped so that she won’t wake up when he sneaks off to visit Suzanne.
SAVOIR FAIRE
translates literally as “to know what to do” and describes the knowledgeable instinct someone might possess
Suzette tells Suzanne that she might require a certain savoir faire while in the kitchen.
Resources
“A History of Farce.” Appalachian Stare University web site. Accessed March 1, 2012 at: http://www.appstate.edu/~martypjw/dramaturgypages/
moonoverbuffalo/historyfarce.htm
Albert C. Bermel, “Farce,” in The Reader’s Encyclopedia of World Drama, ed, John Gassner and Edward Quinn. New York: Thomas Y Crowell Company, 1969.
“An Evening at the Theatre.” New York Daily News, 30 May 2008. 3 March 2012. http://www.nydailynews.com/blogs/culture/2008/05/an-evening-at-thetheatre.html
Bruce Miller. “World Famous Playwright You May Never Have Heard Of.” The Barksdale Buzz.3 September 2011. Web. 3 March 2012. http://thebarksdalebuzz.
blogspot.com/2011/09/world-famous-playwright-youve-never.html
“Deces de Marc Camoletti Autuer de “Boeing-Boeing”.” Le Nouvel Observator, 20 July 2003. 3 March 2012. http://tempsreel.nouvelobs.com/
culture/20030720.OBS3785/deces-de-marc-camoletti-auteur-de-boeing-boeing.html
“History of Theatre Michel.” Theatre Michel, n.d. Web. 3 March 2012. http://www.theatre-michel.fr/
John Mortimer, “Introduction” to Georges Feydeau: Three Boulevard Farces. Middlesex: Penguin Plays, 1985.
“Memoire du Grand-Saconnex Exhibit on the Inter-Parliamentary Union.” Inter-Parliamentary Union Press Release, 22 September 2005. Web. 3 March 2012.
<http://www.ipu.org/press-e/gen209.htm>.
“Victoria Hall.” Geneve, Ville de Culture, n.d. Web. 3 March 2012. http://www.ville-ge.ch/vh/
UPSTAGE Don’t Dress for Dinner
15
When you get to the theatre...
BELOW ARE SOME HELPFUL TIPS FOR MAKING YOUR THEATRE-GOING EXPERIENCE MORE ENJOYABLE.
TICKETPO LICY
PROGRAMS
AUDIENCE ETIQUETTE
As a student participant in Producing Partners,
Page To Stage or Theatre Access, you will receive
a discounted ticket to the show from your teacher
on the day of the performance. You will notice
that the ticket indicates the section, row and number of your assigned seat. When you show your
ticket to the usher inside the theatre, he or she
will show you where your seat is located. These
tickets are not transferable and you must sit in the
seat assigned to you.
All the theatre patrons are provided with a program that includes information about the people
who put the production together. In the “Who’s
Who” section, for example, you can read about
the actors’ roles in other plays and films, perhaps
some you have already seen.
As you watch the show please remember that
the biggest difference between live theatre and
a film is that the actors can see you and hear you
and your behavior can affect their performance.
They appreciate your applause and laughter, but
can be easily distracted by people talking or getting up in the middle of the show. So please save
your comments or need to use the rest room for
intermission. Also, there is no food permitted in
the theatre, no picture taking or recording of any
kind, and if you have a cell phone, beeper, alarm
watch or anything else that might make noise,
please turn it off before the show begins.
Show Title
Performance
Date and Time
Theatre Name
and Location
Price
ROUNDABOUT THEATRE COMPANY GRATEFULLY ACKNOWLEDGES THE FOLLOWING FOR THEIR GENEROUS SUPPORT
OF OUR EDUCATION PROGRAM:
The Aeroflex Foundation
Anonymous
Rose M. Badgeley Residuary Charitable Trust
Bank of America
Theodore H. Barth Foundation
Arlene and Harvey Blau
Lisa and Dick Cashin
Goldman Sachs Gives at the recommendation of
R. Martin Chavez
Citi Foundation
Lisa Pevaroff Cohn and Gary Cohn
Consolidated Edison Company of New York
Kenneth DeRegt
New York State Assemblyman Herman D. Farrell,
Jr.
Barbara Lee and Alston Gardner
Jodi Glucksman
Jeanne and Tom Hagerty
The Heckscher Foundation for Children
Leona M. and Harry B. Helmsley Charitable Trust
Muna and Basem Hishmeh
Elroy and Terry Krumholz Foundation
Mark J. Manoff
Andrew Martin-Weber
Marsha Mason
David and Anita Massengill
Gilda and John P. McGarry, Jr.
The McGraw-Hill Companies
Mellam Family Foundation
Kathryn Myers
Neuberger Berman
New York City Department of Cultural Affairs
New York State Council on the Arts
New York State Department of Education
New York State Office of Parks, Recreation and
Historic Preservation
New York State Assemblyman Daniel J.
O’Donnell
Charles R. O’Malley Charitable Trust
Victoria and Paul Orlin
Education programs at Roundabout are made possible, in part, with public funds from the New York City
Department of Cultural Affairs; the New York State Council on the Arts, with the support of Governor Cuomo and
the New York State Legislature; and the New York State Office of Parks, Recreation and Historic Preservation.
Gordon B. Pattee
Lisa and Gregg Rechler
Richmond County Savings Bank
Rick Rickertsen
Chuck and Deborah Royce
Bill Rudin
The Rudin Foundation
Adolph and Ruth Schnurmacher Foundation
Mary and David Solomon
New York State Senator Jose M. Serrano
Laurie M. Tisch Illumination Fund
Michael Tuch Foundation
Beth Uffner
Edward and Stella Van Houten Fund
The Walt Disney Company
New York State Assemblywoman Helene E.
Weinstein
The Winston Foundation